Alternate Best Actor 1994: Tom Cruise in Interview With The Vampire

Tom Cruise did not receive an Oscar nomination for portraying Lestat de Lioncourt in Interview With the Vampire. 

Interview With the Vampire, which tells the story of the life of a southern plantation owner as a reluctant vampire having been turned by a far more eager vampire.

Much casting controversy ensued in the casting of star Tom Cruise in the role of Lestat from source material writer Anne Rice. Cruise, though still had some forays away from it beforehand, largely was working within crafting and maintaining his still ongoing star persona. This persona that in no way has anything in common with the fancy vampire who loves being a vampire in Lestat, seeming more befitting a more off-beat actor perhaps just on the surface. The thing is though despite Tom Cruise being a great star, he has shown the ability of an actor throughout his career. I think perhaps Rice should've been more concerned by Brad Pitt in a more standard leading part as Louie, the more reluctant vampire, where he seems a bit lost at times particularly in the early scenes of the film, more so than I feel is the intention for his character, whereas Cruise seems right at home. Now as usual though Cruise's portrayal actually isn't entirely alien to his star persona as one would assume, though this is probably one of the bigger stretches of his range. This as Cruise does do an accent here, smartly he doesn't overplay his hand fashioning a slight English accent, perhaps better described just a historically refined accent that honestly simply works for the part. It does more than that though in that you can easily accept him within the role with that touch. This furthered by his physical manner here that takes a distinctly classical patrician manner, that again Cruise is believable in crafting and importantly consistently realizing his Lestat as a classic vampire villain, of sorts. 

Now where there is an overlap between Cruise as his persona and in the role. This is that Cruise typically delivers a particularly type of intense personality. Intensity though specifically related to a personal drive that almost comes through in every Cruise performance, this one included. The difference here though instead of trying to win a race, hustle pool or be the top gun, he wants suck blood, a lot of blood. Cruise's particular intensity serves the character as his eyes just have that certain manner of a man, well a vampire, who lusts for the undead life of the vampire. Cruise's sort of energy he brings is ideal in crafting this idea of the man who just loves the state of being as such. His initial intention in trying to get the moody Louie to be part of this life with him. Cruise makes this a particular sort of villainy as he brings that star presence but instead wields it here as part of the power of the persona through that willingness just to go head first, into a feast. Cruise's performance really is quite essential, as the film takes quite awhile to find a plot, more of just having random acts of vampirism for awhile. Cruise though is what makes these engaging as throws himself into every scene, and honestly, in a rare instance of it, I kind of forget its really Cruise in this part despite technically having those remarkable traits of his presence present. 

The film finds its direction once Louis randomly bites a juvenile plague victim and Lestat blithely turns the victim into a vampire, Claudia (Kirsten Dunst). This where we have the two vampires becoming parents of sorts to the little girl slowly becoming a woman stuck in a little girl's body. Cruise is fantastic in actually managing to find the right balance in these scenes between a flamboyant humor and actually selling the general concept of it. This in portraying Lestat's genuine fascination with the new vampire, as he did with Louie, and the sincere, though devious, joy that Cruise portrays in every fiendish smile of his. This though with a certain cheekiness that is overtly comical when scolding Claudia for randomly killing people, and Cruise again plays it nicely with that balance he finds. Eventually though Claudia turns on Lestat attempting to kill him leaving a more feral vampire in the wake. Cruise once more does not lose the state of the character showing sort of those edges of viciousness in his manner as it comes full front. This switching to sort of the overt monster which Cruise pulls off with a genuine ease. Cruise then disappears for much of the film, with only an enjoyably creepy Stephen Rea to pick up the slack, before appearing in the denouement. These are two scenes honestly at odds against each other one a more repentant Lestat recognizing his past mistakes and the other a flamboyant return to evil. As much as there is the hypocrisy Cruise is effective again in showing an even more dreadful state in presenting Lestat with none of his pomp or circumstance to hide behind. Cruise finding just the right hint of a depth there, carefully not showing a fully regretful side of Lestat but at least a slightly understanding one of how he got to his dismal state. This against his final scene where Cruise is magnificent again in just throwing himself into the sheer bliss again at Lestat embracing his life again. Despite being at odds with his previous scene, it works because of Cruise's performance again that honestly owns both the role but also the needed tone for the material. He shows that quite frankly Lestat enjoys himself too much to really ever better his ways. Again I think it is almost easy to forget that really none of this should work on paper, and in a way one can understands Rice's concern. Tom Cruise as a flamboyant vaguely European vampire does sound positively ridiculous, but Cruise not only pulls it off, it does it to the point you just accept the character and forget this is Tom Cruise, which is something quite special in itself.

Alternate Best Actor 1994: Shah Rukh Khan in Kabhi Haan Kabhi Naa

Shah Rukh Khan did not receive an Oscar nomination for portraying Sunil in Kabhi Haan Kabhi Naa.

 

Kabhi Haan Kabhi Naa is a decent enough rom com musical about a day dreamer musician and naturally the woman he wants to woo.

Shah Rukh Khan plays the ne're-do-well "hero" who dreams of marrying the woman he loves Anna (Suchitra Krishnamoorthi) though really without much of an honest plan. Khan here has the requisite qualities for such a role as the loafer romantic. This being a charm and eagerness that ensures likability while it would be quite easy to dislike his character without those qualities. Khan brings the needed goofy sort of energy though to his portrayal. This throwing himself head first into the musical numbers with a lot needed cheer and just in general finding the right sort affable qualities of the character. This even in presenting the character's dreaming with the right sort of sloppy optimism. There's a distinct lack of thought in Khan's reactions that are kind of needed in portraying the man who really doesn't have any real plan to achieve his goals, but rather thinks he can just sort of dance his way into her heart. Khan's natural charisma carries us past really the more despicable elements about this, and properly sets us up for buying into his foolhardy endeavor. 

His endeavor that is indeed that. A method most questionable as so many a romantic "hero" goes about engaging in deception to win his love, here in sabotaging Anna's own suitor. Although unlike many he actually gets called out for his nonsense. Khan's good though in showing really the honest spirit behind the actions in presenting the pretty straight sense of love in his eyes in the moment though while also not hiding the emotionally shallow manner in which he decries her suitor and lies as boldface as possible. In the latter though he ease nicely by playing it with frankly enough, well stupidity, to present the right kind of naivety in the deception. This as Khan makes it the actions less of a master manipulator and far more so a sloppy fool with a bad plan. This as though Sunil is rejected for this approach and kicked out of his band, as Anna and the other suitor was a fellow member of it.. Only being able to rejoin through the old fashion musical rescue during a  disastrous performance, however still leaves him as the unloved one. Khan's genuinely moving though in the moments of reflect on his state of sadness just showing the blunt heartbreak of it all, fitting for an overt romantic such as Sunil. Although I do think this film suffers from the flaws of many of this ilk, that being it is overlong, but Khan's work is consistently winning in portraying the transference from the petulant romantic to a more mature one as the story goes on. This as not following traditional expectations Sunil isn't meant for his intended love after all. Khan is effective in showing the maturity even within still keeping that energetic charm. This as his reactions convey more so an understanding of really all those around him rather than that singular focus upon his sole goal. Khan's work finds the gradual increase in really the nuance in the character while importantly losing none of his charm. This in emphasizing really that sense of real introspection and empathy that ends up being rather moving. This as he manages to express the action of someone blindly in love, then later truly in love. In earlier aspect Khan being a properly endearing fool, then later a heartbroken, but honest man. 

Alternate Best Actor 1994: Brandon Lee in The Crow

Brandon Lee did not receive an Oscar nomination for portraying Eric Draven aka the titular character in The Crow. 

The Crow, for being a superhero film pre-coup de Superhero, is a decently effective, if dated and a little rough around the edges, atmospheric film about a man coming back from the dead to seek revenge against his, and his fiancee's killers. 

The career of Brandon Lee, the son of the legendary Bruce Lee, can sadly only be mentioned with the same note of tragedy same as his father. Although perhaps even greater given that it continued to the next generation and whereas Bruce was able to shine brightly, albeit so briefly, it was in this film that likely could've been his breakout sadly led to his death. His death resulting from a freak on-set accident that depicted his character's onscreen death. Lee though had completed much of the film before this enabling the film to be finished with some changes. This enabling one to see the lost potential within Lee's performance. There are a few flashback scenes with Lee pre-Crow as Eric Draven as just an average guy with girlfriend, and Lee brings a nicely lightly charming qualities to these moments. Lee playing them without overt style just rather as straight forward in showing the normal life that was broke. He takes a generally likable that rightfully distinguishes these moments from the majority of his scenes as the vicious spirit of vengeance version of Eric Draven, the white face painted, black leather sporting The Crow. 

A performance that I would say genuinely surprised me in parts for the different sides Lee brings within the role that is more than just an iconic look. This though we get his opening revival which is sort of a classic creation of a monster moment, though a bit more based around emotional anguish. Although I would say this really is a warm up as Lee's anguish is believable enough it doesn't really quite hit you in the moment with the visceral need you might want, this might be in part because you barely even know the character at this point given we really get a sense of the guy after he's already dead. Lee's performance, fittingly I suppose, comes to life once he becomes the Crow. This as Lee doesn't play the part as a hero, but in many ways how a villain might be portrayed in a more mainstream comic book film. Lee though is magnetic in the moments of the true spirit of vengeance. This as he brings the real intensity needed in his eyes more so a monster than a man. He delivers a viciousness about and offers the sort of sense of the need for vengeance that fuels him. What takes his performance further though is the real grunge style he offers. This as Lee, for the lack of a better word, is cool here in portraying the moments of Draven menacing the bad guys who killed him. There's a joy in his slick smiles, but really a rocker type style just in his movements and manner that gives the character a unique sort of life. 

 

He's not one note of dread, he is that, but there is that much needed style that Lee thrives with. As the film goes on, in kind of a Robocop sort of way, we do get more glimpses into the humanity of Draven even beyond the flashbacks. These mostly being found in his relationship with a good cop Sgt. Albrecht (Ernie Hudson), and a near orphan Sarah, who knew Draven and his girlfriend before their deaths. Lee handles these scenes well as he switches from his cutting voice of a demon, to that of a man when he interacts with both of them particularly Sarah. The switch Lee uses well as Draven basically becoming his old self in these moments represented by his voice but his whole manner. Although the scenes are relatively simple, there are genuinely affecting moments as Lee recaptures a sense of warmth in these very quiet scenes that he plays well by playing them so sincerely as the good man beneath it all. Although his arc is very rushed, there is a certain vulnerability that Lee delivers in the final climactic battle to help distinguish the final act of vengeance from the rest. This in no longer playing him really as the demon killing the men who killed him, but rather the man delivering justice. This in his final fight with the final boss (Michael Wincott), Lee in a way merges the two sides to still find a certain menace in his presence but with a greater humanity in the actions. Although I wouldn't say this is a great performance, this is a good one. Lee realizes the tricky role effectively, with that sense of style, but also just enough depth to back it up. The performance suggests a leading man in the making, and it's a true shame we never got to see it realized.

Alternate Best Actor 1994: Ben Kingsley in Death and the Maiden

Ben Kingsley did not receive an Oscar nomination for portraying Dr. Roberto Miranda in Death and the Maiden. 

Death and the Maiden follows a woman kidnapping a man she believes had raped her while she was the captive of a brutal regime. While I do think the film on the whole is effective, it suffers from an uncharacteristically bad performance from Sigourney Weaver as the woman and a mostly bland performance by Stuart Wilson as the woman's husband, also an attorney for the new ministry of justice. 

Well this film only has really three characters, with two of them being not particularly well performed, it leaves Ben Kingsley to pick up the slack. Ben Kingsley initially appears as a man who just gives the husband a ride back to the couples secluded seaside home. As seemingly meaningless as this scene is, Kingsley's performance does begin within this first scene, this when he hears the name of the man that indicates the husband will be one of the men prosecuting the criminals of the previous regime. Kingsley's expression at hearing the news glints a change in the man's thoughts. On initial viewing this may seem rather meaningless, however re-watching with the knowledge Kingsley's performance is one saying the truth of the man, just as it is hidden. This is as his expression changes to a man thinking on the matter before leaving. The man eventually turning, claiming to bring back a left behind wheel to the man, but also supposedly to state his agreement with the attorney's job to find justice for the previous regime. Kingsley's delivery being slightly a little much, purposefully, as a man putting a bit of air of support. This almost too formal in certain respect of the man showing an earnest respect. Again the degree of formality though that Kingsley places on it is perhaps just a man putting it on too thickly, or maybe is a man purposefully trying to hide who he is by agreeing with something that would easily lead to his eventual downfall. Now importantly though when not strictly speaking of politics, Kingsley's performance delivers a more naturalistic bent within the man just casually speaking to the man regarding car breakage or offering some strange counsel to the attorney about his obviously rather emotional wife. These moments importantly suggesting that the doctor may in fact just be some any man with no great secret to hide.

The turn happens though as the wife first steals the doctor's car in order to supposedly find some kind of evidence as she feels she has recognized his voice as the man who tortured and raped her. This leading her to immediately bound and gag him as she prepares to find a kind of revenge for herself, though without actually knowing whether he is in fact the man or not, having only heard him in her time of torture. Where Weaver is bizarrely terrible in her immediate sort of interrogation, hard to call it that as the doctor is initially gagged, Kingsley on the other hand is terrific by playing the scene entirely close to the bone in his reactions. This in presenting a man just absolutely terrified by the place he's in in his reactions, and in many ways having exactly no idea how to react to what is going on beyond him. Kingsley doing so much with his eyes in the moment of the man exhibiting the right sense of confusion within the moment, just as he conveys a sense of the man attempting to figure out what this inquiry is. Even in his eyes though Kingsley conveys an essential nuance as again there is a sense that the confusion could be of a man just sincerely confused at what is going on however there is also the potential for a man perhaps calculating whether he has in fact been caught in his crime. Kingsley grants the right visceral intensity to the moment, though a bit lost by just how hammy Weaver is, however Kingsley strictly finds a reality of the situation. When immediately released from his gag, Kingsley's great through his delivery of capturing the immediate trauma and terror fitting to a man having been tortured and threatened. 

 

Kingsley's performance then becomes basically the central tension of the film, again maybe this would be less the focus if his co-stars were a bit better, but nonetheless Kingsley is prepared for this. Kingsley's excellent in his scene where the attorney begins to sorta believe and interrogates the man himself. Kingsley is able to effectively tip toeing around the truth within his performance. This as he creates the right anger within his doctor that again can be that of a man who is trying to hector those interrogating him away from the truth, or that of a man righteously ticked off over the accusation. Kingsley importantly though even within these moments convey switching his eyes still that palatable sense of fear and desperation of the situation. Again though Kingsley's portrayal of the fear could be that of an innocent for his life or a guilty man for his life. Kingsley is incisive in his portrayal as again there is that duality of his work. This as he could be that of a master manipulator prodding in the insecurities of his captors or that incisiveness of who is in fact an innocent victim pleading for his life best he can. Kingsley's work is compelling in both on initial viewing crafting the question of the man's innocence or guilt, and on repeat viewing seeing the man playing the sides of the situation. When we see first a false confession, pushed by the husband to avoid a killing and the wife for satisfaction, Kingsley is great at being phony. Kingsley giving a stilted delivery of the man going through the motion of a confession in the most matter of fact way. The confession of an innocent man.

As strong as I do think Kingsley's performance is in balancing the sense of potential guilt or not while also making up for his less than compelling co-stars, what makes this a great performance to me is in his final speaking scene. This as the two literally push the doctor to the brink by threatening to kill him by pushing him into the sea. A specific one shot monologue solely on Kingsley. Kingsley is amazing in this scene as it isn't simply just a confession of what occurred by a man confessing the entirety of himself in the moment. This is as he opens with speaking towards a claimed innocence of losing himself to the temptation of the situation. A sadness but also some strange attempted pride as he speaks as a man trying to explain himself. As it continues though this twists itself towards some pride in his deeds instead as he reveals a chilling quality as he speaks of the man. Kingsley speaking with a vile rage at his own pathetic state in dealing with women in reality, and creating in his expression a since of power within the man as he speaks. A violent hatred suddenly, and even a casual quality in speaking of his "experiments" in the situation. The longer Kingsley speaks the more the man reveals himself enjoying the corruption of the state seemingly at the pinnacle of his evil. The ending of the speech is Kingsley at his most brilliant as he creates a juxtaposition. This as he is both unashamed and shameless at the same time. This as when noting "I was sorry it ended" there is a sorrow that Kingsley portrays not of his actions exactly but rather a man who thought himself as a good having fallen so far. The hesitation in his voice hinting at the humanity destroyed while his words showing a man who willingly allowed it to happen. Kingsley is outstanding in the speech as he is indeed chilling, but more so he reveals the entirety of the man's experience of the past in this single speech.

Alternate Best Actor 1994: Robert De Niro in Mary Shelley's Frankenstein

Robert De Niro did not receive an Oscar nomination for portraying Frankenstein's monster in Mary Shelley's Frankenstein. 

Mary Shelley's Frankenstein I imagine was propositioned as a spiritual successor to Bram Stoker's Dracula, given the title, the faithfulness of certain aspects of the adaptation (including the strange seemingly extraneous bits) and the fact that it was produced by Francis Ford Coppola, who originally intended to direct. The difference is though the aforementioned film is some operatic kitsch that is brilliant somehow...this film is not. 

Anyway naturally much of the film follows not De Niro as the monster, but director/star Kenneth Branagh in the leading role as Dr. Frankenstein hell bent on reversing death. De Niro shows up first as a man with pox who becomes violent before being quickly executed. I will spay just watching this scene it is easy to forget the time in which De Niro was a typically a devoted actor, as that certainly is the case here. For one thing he is not phoning it in. This is the fact that De Niro doesn't instantly stand out in his first scene is notable, as his accent isn't unconvincing, and it is easy to believe him as this simplistic thug if just for a few moments of screentime. I must grant that it is more than decent work from De Niro who in this scene seems to desire some kind of reality unlike his director. His director who again I think suffers from attempting to realize that tone Coppola found for Dracula, unsurprisingly, again I'm not entirely sure how Coppola even managed to make that tone work. De Niro appears again when the doctor succeeds in creating the monster a more ragged creature than the unforgettable Karloff rendition. In this aspect though I will commend the attempt and say it is not entirely a failure. De Niro's first appearance one could say is underplayed, though with conviction, in portraying just the scared almost senseless creature as he immediately runs from the mob.  De Niro moving just as a ill-formed human and a terrified one only defending itself within its escape. 

Honestly I'd say De Niro's greatest hindrance is his makeup always has a certain artificial quality to it, yes he's supposed to be made up however it looks like literally that he is makeup. I think this limits really accepting him as the monster in say the way one instantly did for Karloff in the role. It's shame as I do think there is an innate poignancy as we follow the creature learning to be more human, such as befriending a blind man and learning how to speak from a family. An actor of De Niro's note frankly could be very silly, but De Niro actually stay devoted to the concept. This in speaking with a muted tone of a man trying to break free some bound to speak again. This in portraying simple but earnest emotions of fear and happiness at the bit of tenderness he finds. His conversation with the blind man is actually quite remarkably performed by De Niro in the purposefully stilted delivery of the creature still learning, but his eyes filled with a simple hope for some joy. Equally earnest is his break down at being as quickly banished form the circumstances by those who can see him. Sadly, unaided by Branagh's over the top way of shooting it, his cry of "Frankenstein, revenge" becomes more silly than anything, although again the way he's framed in the shot is mostly what makes it that way. 

The creature becomes more so the villain in the second half as the film becomes more so a mess. De Niro's performance is actually interesting though as we see the more developed creature confront Frankenstein directly. This as De Niro speaks with a quiet menace and a degree of contemplation. There even as he threatens there's a sadness within his work that reflects the strange state of the creature. Although Branagh seems largely interested in bombast, again perhaps mistakenly going for that Dracula tone again, whereas De Niro seems to seek something closer to a more intimate idea of crafting a man out of many and just leaving him to his own devices without guidance. Sadly that is all thrown out it in favor of a series of progressively sillier scenes of the monster killing Frankenstein's loved ones while the doctor kind of just runs about. It doesn't go anywhere terribly interesting. Even the big "Bride of Frankenstein" scene carries little emotional weight, though I'll credit De Niro in trying to make something of it, even in brief glimpses. Sadly the latter portion of that performance is that. Branagh's direction doesn't really spend any time with the two men as characters, rather just kind of rams through the conflict in a sloppy and wholly detached way. This sadly leaving De Niro, much like his character, left in the middle of a ocean without really anywhere to go. De Niro I do think has something to say within the role, sadly it gets muted by some truly sloppy direction. 

Alternate Best Actor 1994

And the Nominees Were Not:

Ben Kingsley in Death and the Maiden

 

Ge You in To Live

 

Temuera Morrison in Once Were Warriors

 

Shah Rukh Khan in Kabhi Ha Kabhi Na

 

Woody Harrelson in Natural Born Killers

Predict These Five, Those Five or Both:

Robert De Niro in Mary Shelley's Frankenstein

 

Kevin Bacon in The River Wild

 

Tom Cruise in Interview With The Vampire

 

Brandon Lee in The Crow 

 

Xia Yu in In the Heat of the Sun

Alternate Best Actor 1944: Results

 

5. Nikolai Cherkasov in Ivan the Terrible Part I - I decided against a full review, as like with Sergei Eisenstein's Alexander Nevsky, his Ivan The Terrible takes the approach, effectively I will say, of almost a documentarian's distance instead focusing on more so the visual spectacle of the historical events than to dive deeply within the nature of the historical figures past a certain point. Nikolia Cherkasov, who previously played the largely symbolic role of Alexander Nevsky, once again takes upon a part that is more so the idea of Ivan The Terrible, than an in-depth careful examination of his personal motivations. His performance largely being used to again symbolize Ivan as this fierce but also potentially troublesome ruler, often with a closer emphasis on how other's react to the man. There are individual moments for Cherkasov within the film, such as his quiet menace he underlines every word as Ivan makes his demands immediately following his coronation, or the made bravado he brings as he throws down a foreign diplomat in order to declare war. In both moments Cherkasov suggests he might've been able to explore more of the character if given the leave. Although then again even when just being the presence of Ivan, which works well enough, he maybe a little to frequently falls upon just the most extreme bug eyes to sell the nature of Ivan's madness. Largely still it is a fine performance, but again one that more so stands as an image of Ivan rather than bearing the actual soul of the man.

Best Scene: Coronation.

4. Dick Powell in Murder, My Sweet - Powell gives a fine turn in the premiere version of Philip Marlowe, finding his own path through a certain sardonic almost carefree quality for the private detective. 

Best Scene: Dealing with everything.

3. Errol Flynn in Uncertain Glory - Flynn gives perhaps his best performance excelling in crafting a far more cynical character than usual and slowly earning the transformation of the role to a more noble sort. 

Best Scene: Fake change of heart.

2. Alexander Knox in None Shall Escape - Knox gives an effectively chilling turn in showing a man go from a pathetic bitter man who slowly finds his terrible path through the Nazi regime. 

Best Scene: Final speech.

1. Laird Cregar in The Lodger - Good prediction Anonymous, Tahmeed, Luke, and Michael McCarthy. Cregar delivers a brilliant sinister turn as he grants a certain almost romantic quality of the man who both lusts after his victims and despises them.

Best Scene: Scene with Kitty in his room.

Updated Overall

Updated Supporting Overall

Next: 1994 Lead

Alternate Best Actor 1944: Alexander Knox in None Shall Escape

Alexander Knox did not receive an Oscar nomination for portraying Wilhelm Grimm in None Shall Escape. 

 

None Shall Escape is an intriguing rarity of the time which examines the then still ongoing World War II through the atrocities in the mainland by showing the rise of a Nazi officer.

At the center of the film is an unlikely lead played by the underrated and very talented Alexander Knox. Knox was nominated in 44 for his effective turn in the extremely positively skewed depiction of Woodrow Wilson in Wilson. I'll say it is no surprise that voters chose that performance, which again is a good one even within the limits of that role, give the old rule, that still stands to a degree, of voters sometimes going for "favorite person" rather than best performance. Where Knox managed to be compelling in the purposefully fluffy portrayal of Wilson, here he is equally compelling though in a far darker role in the depiction of the central character Wilhelm Grimm. A man we first see, once we enter flashbacks, into that of a German school teacher working in Poland. Knox does not immediately raise alarms in his calm dignified demeanor as Grimm returns speaking with a slight bitterness in his tone however seemingly not fundamental at first. This as we do get a brief scene between Grimm and his Polish fiancee Marja (Marsha Hunt). Knox uses the scene well to portray genuine affection towards her showing an important hint in Grimm, though quickly returning to a greater bitterness as he shrugs everyone else in Poland as lowly. 

The humanity quickly wipes itself away in terms of the writing of the piece however Knox is more gradual in his depiction of this. This as Grimm, after breaking the one human relationship we see initially, quickly goes to rape one of his pupils. In the moment of persecution, that leaves Grimm exiled and missing an eye though living, Knox is excellent by portraying  very honest sense of desperation. This in granting a seemingly humanity within it just by showing that this is a man doing all this in Knox's performance. He doesn't show any confidence rather a weak fear of the man as he begs local religious leaders to help him in his escape. Grimm returns home to his brother,an anti-Nazi, where Knox balances well the changes in Grimm. This as the bitterness is stronger than ever in his manner as each line delivery is lined with a venom. Knox though portrays it with an overt desperation of a man barely having escaped with his life now speaking passionately for the Nazi cause as though it is the only thing he can hold onto for himself anymore. This as even speaking to his brother, who is sympathetic by virtue of familial connection, Knox depicts a man defined by his wounds content with becoming truly evil man. This as he rises right along with the Nazi regime. 

Knox graduates this in his performance to a truly chilling point as he becomes a full fledged Nazi officer who condemns his own brother to imprisonment and prepares to return to Poland to reek havoc. Knox now shows a chilling confidence that now defines the bitterness of the man. This with a sense of a killer instinct within himself and a man comfortable in being a monster. Knox being terribly effective by showing the natural transformation of a quietly pathetic man to a thriving terror by the virtue of the power that supports his cruelty. Knox making for a wholly despicable villain by presenting with such an ease in the man's manner, and a distinct sense of satisfaction in speaking every order of his. This as he portrays a man whose become comfortable to abuse his power as he sees fit and almost a sense of jubilation in his new ability to kill without hesitation. Knox doesn't hold back in presenting the evil of the character but also doesn't use it as an excuse to go broad. Knox's calm in the role is remarkable and makes the character all the more vile. This in showing a man who isn't just mad, but rather is calmly and carefully implementing his planned atrocities. Knox's greatest work within the film though comes in the framing device where we see Grimm on trial for his crimes. There Knox again portrays a progression, the bitterness now worn overtly rather hidden by confidence, but no longer that same desperation of the younger Grimm. He rather presents a man whose become one with the hatefulness. This in his stellar final scene where Knox speaks every word with an incisive viciousness fitting per his cruel fiend. Knox excelling in crafting a most unique arc for the time, a man slowly becoming more acquainted with the very worst of himself. His final speech is short but one that Knox makes the most of to mark the end of this journey. This with Knox ending as a man becoming a kind of hatred incarnate.

Alternate Best Actor 1944: Dick Powell in Murder, My Sweet

Dick Powell did not receive an Oscar nomination for portraying Phillip Marlowe in Murder, My Sweet. 

Murder, My Sweet is a rather effective adaptation of private detective Phillip Marlowe naturally trying to uncover some criminal plot. 

The character of Philip Marlowe is one of the original hard-boiled P.I.'s from novels that were well suited for the 40's period of the film noirs. The first time the character received an adaptation, where he remained named as Philip Marlowe, was this film featuring a less well known Dick Powell, at least compared to Humphrey Bogart who played the part a couple years later or Robert Mitchum who eventually would be cast in the role despite being far too old for the part. I'll admit going into the film, as much as tried not to, a preconceived notion about an early often forgotten performer of a famous role itched at my mind. Perhaps a side of effect of seeing the pre-Bogart Sam Spade Ricardo Cortez's thoroughly underwhelming performance. I'll say those notions thankfully were unearned when finally seeing the film. Although that isn't to say that Powell is a precursor to Bogart or Mitchum's work, in fact I'd say his performance is closer to Elliott Gould's downright brilliant portrayal of the anachronistic Marlowe in The Long Goodbye. Although he's naturally not as off-beat as that performance, Powell's work really isn't to craft a glamorous, even in a downtrodden sort of way PI, but rather someone who probably would more likely be one. Powell's performance not trying to make Marlowe's the end all be all PI, but rather just a PI whose going try to solve things best he can no matter how many hits to the head it takes. 

Powell's performance emphasizes kind of a "why not" approach to Marlowe's as in many ways it is all a game, in turn a day in the life to the PI. This as he brings a nice sort of blithe manner particularly in his narration. A narration that he offers an edge of a comical quality as he almost seems bemused by his own existence. Powell's actually rather wonderful here in his delivery of so many of the hard-boiled lines that he makes sing through the right degree of showing Marlowe deriding those around him while also still being within the moment. Powell's portrayal being quite compelling in the way he brings you into really a tangible sense of Marlowe's world right down to the way he explains his being knocked out as going "head first into a black pool". Powell's work manages to give a strong sense of the man's personality as someone who knows what he's doing, but also kind of knows how much of a joke all of it is in his series of bad luck. Powell in some way playing more so into a later type of protagonist in that he doesn't present Marlowe as having a perfect cool, but rather what makes him so remarkable is how he's flying by the seat of his pants to a degree. Powell making for that professional, but also the professional who is a man after all, with more than a few parts of imperfections. 

Powell quite honestly is fun to watch here in just finding ways to enliven the proceedings to make the mystery both easier to follow and more digestible. One of my favorite moments, that seems like Gould might have ran with, is this brief moment where Marlowe going to a not particularly interesting meeting with some potential leads does a little skip dance on his way. It's just an exceptional moment that so well conveys the spirit of his performance and in turn how his Marlowe works. This as Powell lets the viewer in on the mystery very much so every step of the way. I particularly love how he handles even the romantic moments that we the femme fatale (Claire Trevor) and the less step-daughter fatal (Ann Shirley). In Powell's work both he shows that even when obviously knowing the fatale's game Powell shows Marlowe's almost not minding the fringe benefits he can get from it. This against the step-daughter where Powell finds a sweetness within suspicion. Again as someone who always seems to find his way around a situation no matter how odd or potentially fatal. Unfortunately my only complaint comes into the sequence where Marlowe's is drugged and has to escape from an asylum of sorts. This just as Powell goes a bit too broad in portraying the off his rocker Marlowe. Although it is fitting that this would be one part where he isn't in control even in his off-beat way, but even then it just more feels it is the one part Powell doesn't seem fully comfortable with in his portrayal. This is unfortunate essentially because I actually really enjoy the rest of his performance here. This as though obviously his take would be original, being the first after all, his take and approach is absolutely worthwhile and worth mentioning right along with his successors in the role. 

Alternate Best Actor 1944: Laird Cregar in The Lodger

Laird Cregar did not receive an Oscar nomination for portraying Mr. Slade the titular character in The Lodger.

The Lodger is one of the many adaptations of the Jack the Ripper inspired story of a mysterious man taking residence in the upstairs of a London home.

 

Laird Cregar is one of the great "could've been actors" having only a six year run in films before his untimely death at the age of 31. One must note though then the remarkable thing it is to discover the man, and to see what he was able to accomplish within that tragically brief tenure. Cregar naturally was cast within the classic "heavies" however again notable how Cragar in that time was able to create different types of characters within that role. Whether it was the sniveling weasel henchmen in This Gun For Hire, a particularly affable devil in Heaven Can Wait, or of his creepy yet tragic inspector in I Wake Up Screaming. Cregar found a different approach and even a different tone for each. We find that again here, where honestly one might be able to quickly presume that Cregar is in fact playing Jack the Ripper as the Lodger known as Slade, a nearby street name to his hopeful residence. Cregar's performance then is what must create the intrigue far beyond the "is he?" the defines the story. He's obviously him, so really it comes down to how intriguing he is in revealing the strange state of the man. This from his opening scene where the man investigates the upper floor of the residence. Cregar's higher pitched voice granting both a elegance and an off-beat peculiar quality to the man. His eyes filled with something that isn't so easily described as he looks upon the quarters, and his almost lustful way of speaking that the home will provide the "intense heat" for his "medical experiments". 

Where the part would be later played by Jack Palance with a steely calm, there is something far more dynamic within Cregar's performance that seeks to grant a certain odd sympathy for Slade even as he also reveals the nature of the man. This in his first scene as the man remarks the place shall be a refuge for him after be spoken to of the Jack the ripper murders. Cregar's monetary gaze up into though shows the man's need for some kind of solace within his mind, befitting a man technically being constantly hunted. Cregar's performance creating an intrigue within itself through his manner as he tips towards the stylized yet never goes too far in granting an nearly intangible quality about the man. This again remarkable as Cregar suggests a man almost another plane of thought that alludes towards what is that Slade is doing when he is not "lodging". Cregar's performance, which the cinematographer particularly seems to love in the way his face essentially glows here, is captivating within itself in creating Slade not as a, is he, isn't he, question but rather an examination of what a man who does such would be. We are granted to explore more of this as Slade's introduced to the idea of his landlady's niece Kitty (Merle Oberon) is a showgirl. First explaining his distinct fascination with showgirls. This as Cregar is impeccably creepy in speaking the fear nearly in the man's voice as he explains the way he oddly seems to think he's oppressed by them in some way. This though at the same when distinctly speaking of one Cregar's glare is of a precise transfixing thought. 

His first meeting with her is a brilliant scene for Cregar this is as he's both creepy but in a strange way an almost romantic quality he brings. This when explaining river in the night to her. This as Cregar speaks the words with a poet's grace but just with an intensity that is more than that. There is something pressing with the man, a madness that he so eloquently realizes as a state that makes Slade's psychopathy on that different state of mind. Again though Cregar is chilling with a nearly ethereal quality in creating the deranged state so uniquely. Cregar's performance in a way know that the material has been tried many times before in a way, as though his performance in some way subvert the material, he glides through in a way to grace each note with some marvelous eccentricity. This just in the way he watches others, including an inspector, discuss the case. Cregar's look craft the man suspicious of well...the suspicions, but there's more. His little glares grant a critical quality in the man almost annoyed at the others attempting to pigeonhole himself as some kind of particular maniac. Although I wouldn't quite say Cregar makes the character of Slade fun, there is something quiet entertaining in his portrayal that is playful in a way without being dismissive of the material. This most often in playing the "monster" of the lodger, just in his particular gait, and especially his way of looking upon the others with the manner of a predator minding his prey. That so often with the look of dead eyes of Slade. This though still with the complication in his work of showing Slade is in some way conflicted between disgust and lust in his crimes. This in his interactions with Kitty where Cregar is so many things at once. That looking as both in love with her and with a hate. This speaking though with some critical venom and some hope of seduction. Cregar's always elegant delivery making the most of the hypocrisy of Slade. Cregar apparently attempted to grant the part a "romantic veneer" and successful he is in this. This in making his performance fascinating kind of a mad man. This in even his final scene with Oberon where he reveals his murderous intent that Cregar plays both as a horror scene and a love scene. This in going back and forth between the seduction and the kill as this terrible sort of dance. Although the film is just fine otherwise, if only just fine, Cregar achieves greatness here by both fulfilling and subverting expectations of the part of Slade. A part that was played before and would be played again, but Cregar makes it his own. This as a magnetic hypocrite that exists in his own realm that clashes violently when he attempts to confront reality.